S5 E6 According to Harpy
by Harpy101
Summary: Home becomes more than a place, friendships and more are declared. Destruction is prevented. There are divisions and pairings, rings and moonlight. Everybody is in this one, as the old chapter is ending and the new one beginning.


INT COTTAGE. NIGHT.

_Bates sits at his desk, which is piled high now. Anna is on his lap in her nightgown, her head on his shoulder. He holds her hand, caressing and playing with her fingers. The lamp burns low._

ANNA  
You need a bigger desk. Is all of this correspondence for the hotel?

BATES  
Not all of it.

ANNA  
You stay in touch with people from prison, don't you?

BATES  
I befriended two wardens. One of them is back on the police force now in London. And one inmate who was released before I was. I still have some associates from the army and a friend or two of my mother's.

_Pause._

BATES (CONT'D)  
Everything I do, I do for us. For our future.

_Anna sits up in his lap and looks at him._

ANNA  
I know that. But I do require the truth from you.

BATES  
I haven't-

ANNA  
You never have, John? You've never omitted the truth or hidden it from me?

BATES  
To protect you-

ANNA  
The best protection you can give me is information.

BATES  
I am in touch with some people I wouldn't have you in the same room with. But they can be helpful-allies, at times.

ANNA  
And I must know what sort I'm dealing with. If you deal with them, so must I.

_Silence._

ANNA (CONT'D)  
You can't still be thinking I'm weak.

BATES  
I have never thought that. Never. You are the strongest person I know.

ANNA  
Then I need the truth from you. I deserve it.

_She stares him down._

BATES  
I promise. I won't keep things from you. There were times I thought it was right. But I promise you, from now on.

(BEAT)

ANNA  
Thank you.

BATES  
But-

ANNA  
But?

BATES  
Above all else I will protect you. You can't ask me not to do that.

(BEAT)

ANNA  
I trust you.

_They gaze at each other for a long moment. He kisses her._

_Anna sighs. She lays back down on his chest._

ANNA (CONT'D)  
I'm silly to dread tomorrow.

BATES  
I'll be hiring staff, setting up the files and the accounts. You'll be picking out fabrics and ordering furnishings. I hadn't thought it out properly until I talked to the hotel owners in London. But there simply won't be time for anything else.

ANNA  
And the money won't last forever. Once there's a property-we'll have to start up as soon as we can.

BATES  
With all the bids we've made, it could happen any time.

ANNA  
I have such sadness about it. I didn't expect to feel quite like this.

BATES  
Of course you do. As I do. It's not going to be easy.

LADY GRANTHAM'S HOUSE. BEDROOM INT. MORNING.

_Violet is ensconced in bed. Dr. Clarkson is closing up his medical bag. Isobel enters._

ISOBEL  
It's me-though I won't say only me.

VIOLET  
You could, you know.

DR. CLARKSON  
Mrs. Crawley, good morning.

ISOBEL  
How is the pain?

VIOLET  
There's enough, I assure you.

DR. CLARKSON  
The hip is not broken. We must be thankful for that.

VIOLET  
I've often been told I lack gratitude. It's never been more true.

ISOBEL  
How can I help?

VIOLET  
I've nurses for that.

_Cora peeks her head in._

CORA  
Good morning.

VIOLET  
And my want for gratitude is yet compounded.

DR. CLARKSON  
Lady Grantham, good morning. It's not a break, but merely some deep bruising. It will take time to heal.

ISOBEL  
We must keep you from getting bored.

CORA  
I've an idea.

_Cora steals a look at Isobel. Isobel nods very slightly. We can see that this is a plot._

CORA (CONT'D)  
We could have a set of rooms on the east side of the estate converted for you. And while you're recovering, you could live with us. It would be nice to have you with us. But your rooms would be separate on that side of the house, so you'd have your privacy, and your own staff can come with you.

VIOLET  
I have all that here.

DR. CLARKSON  
You will need a full-time nursing staff for several weeks. But I do think it would be most beneficial-

VIOLET  
Are you about to offer medical advice or an unsolicited personal opinion?

DR. CLARKSON  
Begging your pardon, My Lady, but in my case the two are indistinguishable from each other.

VIOLET  
No one should have such power.

LIBRARY. DAY. A GREAT TABLE IS PILED WITH DOCUMENTS.

BLAKE  
I urge you to reconsider your stance on the National Trust.

ROBERT  
I thought we were not in a position to give anything away.

BLAKE  
This is about alliances with the powers that be. The National Trust favors woodlands. If we donate the deer park we can be assured it won't be built up, and that we're known to them as a benefactor. It's a show of good will. In fact, the more we are able to show good will the better off we will be in the long run.

_Blake looks at Tom._

It will also help to reinforce our connections with the people on the farms and in the village. And those connections we have will strengthen our position and may help us garner support whenever we might need it.

MARY  
You keep saying "we".

BLAKE  
I'm on your side.

MARY  
I know.

ROBERT  
As I told you, it's crucial to me that we keep the family together. If anything is more important than Downton itself, it is the cohesion of the family.

BLAKE  
I do understand that, and I believe that this is the most practical course of action to ensure that outcome.

_Robert nods._

BLAKE (CONT'D)  
Now, we must go with the highest bidder on some of the properties.

ROBERT  
I am prepared for that. These are from meetings in London.

_As he lays out a number of documents Robert looks up at Mary, who looks proudly back at her father. Blake nods._

BLAKE  
Excellent, Lord Grantham. This gives us an overview of the market. Do you see the premium on rental properties? Look at the numbers here and here.

_Blake points to two documents._

I also suggest cutting about one third of the staff. And a sale of non-profiting farms at the rate proposed by-

ROBERT  
Cut staff? Do you mean house staff?

BLAKE  
It will save us as much as twenty percent of our quarterly budget.

_Robert and Mary were not ready for this. They stare at Blake._

BLAKE (CONT'D)  
When was the last time you threw a grand party here? Or welcomed a Duke?

_Silence._

Also, the other properties must net a suitable margin above their own worth in income. How many properties have you in town?

ROBERT  
Two. But family members live in them.

BLAKE  
Wouldn't there be room for them here?

_Robert sighs and walks away from the table. Mary and Blake look at each other. Mary approaches Robert._

MARY  
It would be better to have Grandmama living here at any rate, especially now. Mama discussed it with Cousin Isobel, and-

ROBERT  
Yes, I know. But are we now to oust Isobel from her house? The screws are turning too tightly this morning.

TOM  
(To Blake) I think you are a gifted strategist. And you know your business. I just hope it will all be worth it.

BLAKE  
When you look at the books and see no red ink on the ledgers, when you can see at a glance that the estate is making money rather than losing it, you will know it is worth it. We will be keeping Downton alive.

COURTYARD. DAY.  
_Mr. Mason and Ian Dunham load boxes of jars onto a wagon. Ian is a tall, handsome, somber farm hand._

MASON  
You'll have quite a savings by now, unless you spend all your canning money on ribbons.

DAISY  
I don't spend it. Don't even know what I'll do with it. I just put it away and forget about it.

IAN  
You should start a side venture and make more with it.

DAISY  
I wouldn't have time for that.

MASON  
Forgive me, Daisy. This is Ian Dunham. He's my right hand on the farm these days.

DAISY  
(Hands Ian a crate) How do you do?

IAN  
You've more inside?

DAISY  
Yes. There's two crates of pickle just inside the door.

_Ian leaves to fetch the crates._

MASON  
I hope you'll forgive him, Daisy. He was never the cheery sort but since his wife died in childbirth last year-

DAISY  
Oh! How terrible.

MASON  
Well. You'll see more of him about when you're at the farm on weekends. I just want to say, he's a good lad even if dour.

DAISY  
Thank you for taking all this to market for me. I wish you'd let me pay you for the trouble.

_Ian exits the door with the crates, stacks them on the wagon and steps up into the driver's seat._

MASON  
That would be nonsense. But I like what you've done. You've proven yourself in advance.

DAISY  
How do you mean?

MASON  
You won't be coming on to the farm as some fool girl who's my daughter. You're my daughter who makes the best selling jams and pickles in the county. You'll have respect when you walk in the door. That's a good way to come into any situation.

IAN  
Are you ready, Mr. Mason?

MASON  
We've the ferrier coming 'round in a bit. Must get back. We'll see you on Saturday morning, Daisy. Don't forget to bring a case. I'll make sure Mrs. Clay has your room ready.

_Mason climbs into the passenger seat. Daisy waves._

DAISY  
Nice to meet you.

_Ian clucks at the horses and the wagon starts off. Daisy looks after the wagon for a moment before wiping her hands on her apron and going back inside._

LADY GRANTHAM'S HOUSE IN THE VILLAGE. BEDROOM INTERIOR.

ISOBEL  
I can help you make plans for the new rooms and get moved. We could have a bit of fun with it.

VIOLET  
Plans seem to be going ahead at lightning speed without my involvement. Fun is an unthinkable dimension at the moment.

ISOBEL  
I promise you, no one wants to impose. They love you. They want you-home.

_Silence._

ISOBEL (CONT'D)  
Are you very angry? Or sad?

VIOLET  
Wouldn't you be?

ISOBEL  
Perhaps.

VIOLET  
My children are all yet living, so I won't expound upon sadness. But, yes, it's a bit like being abducted.

ISOBEL  
Then we must make sure your requirements are met. Then it will feel less like-

VIOLET  
The problem, you see, is the relief.

_Isobel stops and looks at Violet._

There were nights when the emptiness got the better of me. To have the family closer, just to keep some of the memories at bay, will be a relief. I think. But I can't go too willingly.

ISOBEL  
No. (Thinks about it.) No, I wouldn't either.

_Isobel sits by Violet's bedside._

VIOLET  
I had asked after a friend or two of mine who have been long associates of Lord Merton. I thought I would share some of his-less apparent activities with you.

ISOBEL  
What? What do you mean-

VIOLET  
I thought you should know more about the man. And since I had the means-

_Violet gestures at a stack of papers on the table._

ISOBEL  
I don't know how I feel about snooping on him.

VIOLET  
You didn't snoop. I did. All you need do is read.

ISOBEL  
But if I-

VIOLET  
Nothing robs the bloom from a maiden's cheek so quickly as being a sanctimonious bore.

ISOBEL  
You just wanted to make fun of me.

VIOLET  
Well, of course. But take a look.

_Isobel hesitates._

VIOLET (CONT'D)  
Take off your halo and look.

_Isobel goes to the table, picks up the papers and peruses them._

ISOBEL  
Orphanages.

VIOLET  
Seven orphanages. Four in France.

LIBRARY. DAY.  
Robert and Mary stand near the fire, having tea.

MARY  
What a morning. This should be a cheerier bit of business.

ROBERT  
Yes. I've been looking forward to surprising them.

_Bates and Anna walk to the entrance of the library and wait._

ROBERT (CONT'D)  
There's no need to be announced, you two. Come in.

_Bates and Anna enter and stand awkwardly before Robert and Mary. Bates opens his mouth to speak and is interrupted by Mary._

MARY  
Not to steal your thunder, but we have anticipated this.

(BEAT)

BATES  
Have you?

MARY  
If indeed you were both thinking you ought to have raises, we are prepared to accommodate you. Please keep this next bit between us for now-we will be making changes in the staff. But despite the cutbacks we're facing we will be able to afford you an increase - enough, I think. We agree that it's time for both of you.

_There is a silence, with Anna and Bates looking a bit sick. Anna breaks it._

ANNA  
We are giving notice, My Lady.

_The bomb has dropped. Robert and Mary are struck breathless._

MARY  
You're-what?

ANNA  
We-(Stops and looks at Bates)

BATES  
We've been planning for a long time.

ANNA  
You recall that Mrs. Wright remembered me in her will?

(BEAT)

MARY  
A better remembrance than you let on, apparently.

BATES  
We've been saving for years. Altogether - we found ourselves ready about three years ahead of schedule.

ROBERT  
How much notice are you giving us?

BATES  
We thought three months, My Lord, if that is enough.

ROBERT  
(Takes a moment to adjust and think.) That's ample. I admit I'm shocked, but I am happy for you both. No one deserves it more.

_Robert moves to shake Bates' hand._

MARY  
I'm sure it's deserved. But I won't lie. I'm not happy.

_Mary leaves the library._

_Anna gives Robert a small curtsey before following Mary._

ROBERT  
Women have more delicate sensibilities, of course. I'm sure Mary will come around.

BATES  
We are grateful, my Lord, for all you've done for us. Neither of us will leave until you are perfectly happy with our replacements.

LADY MARY'S BEDROOM.

_Mary stands looking out the window. There is a knock._

MARY  
Come in, Anna.

ANNA  
My Lady.

_Mary keeps her back to Anna._

MARY  
Three months?

ANNA  
If that is enough to train my replacement to your liking. I won't leave your service until you are happy-

MARY  
I will say it again, Anna. I won't be happy. It's one thing no one can require of me today.

_Silence._

MARY (CONT'D)  
Have you bought a property yet?

ANNA  
No. We have made some bids. We have no idea when we might hear back from any of them. But once we do-

MARY  
And if you find the right property before the three months is up?

ANNA  
I will not leave until you are - satisfied - with my replacement. If it takes longer than the three months.

MARY  
Even if it means you miss out on the right property?

ANNA  
There are many old hotels in Yorkshire.

MARY  
At least you're not moving abroad. Or to America.

_Anna smiles at the thought as Mary turns to her. Mary is not smiling._

MARY (CONT'D)  
Please leave me just now, Anna.

INT. HUGHES'S OFFICE. THE DOOR IS CLOSED.

PATMORE  
When will they announce it?

HUGHES  
Just after tea.

_Patmore gives a deep sigh._

HUGHES  
It's not for us to worry. Senior staff are the lucky ones.

PATMORE  
I am glad they had Mr. Carson tell us first. I'm afraid I'd fall down in a faint if they dropped that on us out of the blue.

HUGHES  
And we must remember to be gracious to the younger staff and to help them any way we can to find other employment.

PATMORE  
But how will we manage if we have large parties?

HUGHES  
Hardly anyone is still entertaining in the grand style these days. You've noticed that. Of course, before it's all said and done there will be an engagement party and a wedding...

PATMORE  
Do you think it will be that Mr. Blake?

HUGHES  
There was never a question in my mind.

_Pause._

I suppose we'll have more - free time.

PATMORE  
I hope not! When she marries that will add to the family, at least. Enough people to cook for that they'll still need a cook.

HUGHES  
Mrs. Patmore, try to receive the message that they want to keep you on. Just as they want Mr. Carson and myself. The world has not quite stopped spinning. We still run a great house.

_Hughes leans in closer._

HUGHES  
And one other thing to keep under your hat until they announce it-another family member will be moving in. They'll be converting rooms on the east side.

PATMORE  
Oh, no.

HUGHES  
You'll soon be cooking for The Dowager every day.

ROBERT AND CORA'S BEDROOM.

_Cora sits in a lounge chair. Robert paces._

CORA  
Are you alright?

ROBERT  
It's like disemboweling my ancestors and my children simultaneously.

CORA  
We're able to keep the estate because of all you have accomplished. You have worked with Mary and Tom so well.

ROBERT  
It's the saddest thing I've ever done. I can't seem to shake the feeling that I've failed.

CORA  
You will have to. Because we will soon be making plans for celebrations. And we are bringing the family closer, Robert. The most important thing. You've done it, you've kept us all together.

_Robert sits in a chair next to Cora. He stretches out his hand. She takes it._

CORA (CONT'D)  
We're all home and we will have our home. And each other.

ROBERT  
(Thinks.) What celebrations?

CORA  
(Smiles) Then Mary hasn't told you? You _have_ been too busy with business.

ROBERT  
And I'm not done yet, even today. (Thinks) Told me what?

LONDON STREET, OUTSIDE EDITH'S FLAT. MORNING.

Thomas waits in an alley, smoking. He sees movement at the front door and creeps to the edge of the alley to press himself against the bricks of the building, watching.

Edith emerges, straightening her scarf which is tugged at by the breeze. She switches a stuffed rabbit toy from one hand to the next, juggling it with her gloves, and is called to by someone. She turns and the nanny reaches for the rabbit. Edith laughs and hands the toy to her, pulling on her gloves. She sets off.

MOSELY COTTAGE. DAY.

_Baxter knocks. Mosely Senior answers the door._

MOSELY SR.  
Well, good morning. Joe is at the Abbey, I thought.

BAXTER  
Oh, I know. He's in a private meeting with His Lordship. A rather good meeting, I should think. But I'll let him tell you about that.

MOSELY SR.  
So you came to torture me with suspense?

BAXTER  
No, with scissors.

MOSELY SR.  
What?

BAXTER  
I noticed the other day when you had us for tea that your fine scissors have been sharpened down to the quick. As a lady's maid I have access to some good manicure scissors, which I thought would be prefect for rose breeding. May I show you?

MOSELY SR.  
Oh, yes. Please come in.

_Baxter takes the tiny scissors from a case and hands them to Mosely SR._

MOSELY SR. (CONT'D)  
My. These are just the thing!

BAXTER  
We most likely won't make it over for tea this week, so I thought I would drop them off and you could start using them now.

MOSELY SR.  
That is very thoughtful, Miss Baxter.

BAXTER  
Not at all.

_She smiles and makes to leave. He stops her._

MOSELY SR.  
Miss Baxter.

BAXTER  
Yes?

MOSELY SR.  
If your sexes were reversed I would ask about your intentions toward my son. He's grown very fond. Very fond indeed.

BAXTER  
As have I.

MOSELY SR.  
Have you?

BAXTER  
You doubt?

MOSELY SR.  
I know you have a past. And secrets. He told me. I won't press you. But if the nature of them-

BAXTER  
There is nothing to keep me from moving on with my life.

MOSELY SR.  
And do you want to?

BAXTER  
I do want to, yes.

MOSELY SR.  
Well, I think you're a good sort. But my son isn't the robust type. He's always been-

BAXTER  
Sensitive.

MOSELY SR.  
Yes, I'm afraid so.

BAXTER  
Well, I'm not afraid of that. It's quite rare, you know.

_Baxter has the door knob in her hand, but she turns back again._

BAXTER (CONT'D)  
And he's more robust than you might think.

UPSTAIRS HALLWAY. DAY.

Mary sees Bates.

MARY  
Oh, Bates-if you have a moment. About this morning. Of course I'm happy for both of you, and I wish you the best, truly.

BATES  
Thank you, My Lady.

MARY  
When you've a moment, would you please send Anna?

BATES  
I will. And-

MARY  
Yes?

BATES  
It would be outside the bounds of-

MARY  
Please speak freely, Bates.

BATES  
You mean a great deal to Anna.

_Silence._

BATES (CONT'D)  
It was not proper of me to say.

MARY  
No, I'm very glad you did. Thank you, Bates. Please send her when you see her.

BATES  
I will.

CARSON'S OFFICE. DAY.

_Carson is bustling without purpose, fretting._

HUGHES  
Please sit down for one moment.

CARSON  
We must see that all the events are carried out flawlessly, if it's to be one of our last celebrations.

HUGHES  
The way you talk! There will be many celebrations ahead. We're simply scaling back-

CARSON  
That is no excuse for allowing standards to slip! We cannot-

HUGHES  
Mr. Carson. Sit down.

CARSON  
It's not just us. It's not just about what's happening today. I hate to see it. It's a world ending.

HUGHES  
Rome didn't fall in a day.

CARSON  
You mean wasn't built-

HUGHES  
It didn't fall in a day either! And if you've noticed, Rome is still standing. These things are never the catastrophes we imagine. And it's up to us, Mr. Carson, to set an example.

(BEAT)

CARSON  
You're a better example than I.

HUGHES  
That's not true.

CARSON  
It's embarrassing but-

HUGHES  
But?

CARSON  
I don't know who I would be anymore. I'm not sure who I am if not-

HUGHES  
Well, you're my friend.

_Carson sits next to her. They gaze at each other._

LADY MARY'S BEDROOM. DAY.

_Mary is back at the window, deep in thought. There is a knock. Anna enters with an armful of dresses and closes the door._

ANNA  
My Lady, may I-

MARY  
Anna, please, yes. I want to-

_Anna waits._

MARY (CONT'D)  
I'm very sorry for the way I acted.

_Anna starts to speak._

MARY (CONT'D)  
Would you please put those down for a moment?

_Anna drapes the dresses carefully across the bed._

_Mary paces, twisting her hands together._

MARY (CONT'D)  
You see, I don't know if it's all happening at the wrong time or at the right time. We've divided up parts of the estate and it feels as if I'm being cut up. It feels like butchery. I have no choice. I know it's right. But it hurts, Anna. And it feels rather like the end of the world.

_Mary turns to Anna._

I'm going to accept Charles. But not because he can help save Downton, although that would be reason enough. I think we are the best match. And he's-he's a MAN, Anna. You know what I mean.

ANNA  
I do know, yes, My Lady.

MARY  
So you see-there are many changes coming. And I never thought of you not being with me while I went through all this. I can't imagine it.

_Tears stand out in Mary's eyes._

MARY (CONT'D)  
Who will I talk to?

Anna goes to Lady Mary and takes her hands.

ANNA  
You'll talk to me.

MARY  
Would you want-to be-

ANNA  
We are friends, My Lady. We will always be.

MARY  
You'll be very busy, with your new life.

ANNA  
Never too busy for my friend.

STREET IN THE VILLAGE. DAY. ISOBEL WALKS WITH LORD MERTON.

ISOBEL  
What made you so interested in the plight of war orphans?

LORD MERTON  
You've seen them.

ISOBEL  
Have you?

LORD MERTON  
In the war. I didn't tell you?

ISOBEL  
You've yet to mention it. And I didn't know you served in the war.

LORD MERTON  
We were marching through a village in France. In a barn we found about a dozen children, living off leaves and berries and milk from the cow. They were hopeless little skeletons. You never forget a scene like that.

ISOBEL  
No. No, you don't.

LORD MERTON  
But you also remember the way they look when they have started to rosy up again. When they're fed and sleep in proper beds and start to run and play again.

STREET IN THE VILLAGE. DAY.

SARAH  
How did the meeting go? You look a bit shell-shocked.

TOM  
At least I know that will never happen.

SARAH  
Shell shock?

_Tom and Sarah approach a street corner. Coming toward them from around the corner are Lord Merton and Isobel._

TOM  
Heart murmur. I wasn't accepted into service.

SARAH  
That's a terrible fate for a pacifist.

_Tom laughs._

_Sarah and Tom are just feet away from Isobel and Lord Merton._

LORD MERTON  
I'm sent photographs of waifs turned into jam-smeared hooligans.

_Isobel laughs._

_All four stop, nearly running each other down. Isobel and Tom are still in mid-laugh when they make eye contact._

LORD MERTON/ISOBEL/SARAH/TOM

Hello.

HIS LORDSHIP'S DRESSING ROOM. DAY.

BATES  
You'll find he likes to vary studs and links even for dinners through the week. There are sets for particular seasons in the attics. We'll go up tomorrow and I'll show you all of that.

_Mosely is silent and preoccupied. Bates looks at him, waiting._

BATES (CONT'D)  
Will tomorrow be acceptable for you?

_Mosely seems to wake._

MOSELY  
Uh-yes. I'm sorry, Mr. Bates. Please excuse me. (Laughs)  
I'm still pinching myself.

BATES  
You and His Lordship will get on very well. You've nothing to worry about.

MOSELY  
It's a good deal to absorb just now.

BATES  
Well, we've some time yet. And the uniform protocols will take a bit of-

MOSELY  
I don't mean to seem ungrateful, Mr. Bates. But it's not just the training for the position that has me-

_He stops. Bates smiles._

BATES  
Are you ready to ask her?

MOSELY  
She and Dad get on so well. And she's come clean with me. She's given me every indication-

BATES  
Have you got a ring?

MOSELY  
(Sighs) No.

BATES  
It's time you went, then.

MOSELY  
It won't be much.

BATES  
Do you think she's hoping for posh?

_Mosely thinks for a moment and laughs._

MOSELY  
Well, she can't be, if she's accepting me.

THE GRANTHAM ARMS. DAY.

_Tom, Sarah, Lord Merton and Isobel are having pints at a table._

LORD MERTON  
Do you find it a challenge to meet requirements and keep children's attention at the same time?

SARAH  
You've neatly defined the central problem in teaching.

LORD MERTON  
Please pardon my ignorance on the subject.

SARAH  
Not at all. You're very insightful. But I am still having some difficulty-

ISOBEL  
Educating parents as well?

SARAH  
No, with the fact that I'm having a pint at a table with a Lord.

TOM  
You surprise me.

SARAH  
Do I?

LORD MERTON  
(To Isobel) Am I horrid?

ISOBEL  
Yes. But not in a Lordly sort of way.

_There is a silence at the table. Sarah laughs first. Lord Merton joins her, then the others._

TOM  
You stood up for me once. When I badly needed an ally from-

LORD MERTON  
From across the divide?

TOM  
And it was family. You could well have defended your son.

LORD MERTON  
He was in the wrong.

TOM  
It's not something you forget.

(BEAT)

LORD MERTON  
(Nods at Tom.) Well.

_He drains the remains of his pint._

LORD MERTON (CONT'D)  
(To Isobel) May I walk you home?

ISOBEL  
I'm headed to the Abbey for a bit, actually.

TOM  
I'm going back. Ride with me.

_They finish their pints and stand._

SARAH  
Shall we all do this again?

(BEAT)

SARAH (CONT'D)  
I hope that wasn't improp-

LORD MERTON  
Next Wednesday?

OUTSIDE THE ESTATE. AFTERNOON.

_Blake and Mary walk, followed by the nanny. Blake holds George. They sit on a bench. Blake hands George to the nanny._

BLAKE  
He'll be down for his nap now.

NANNY  
Yes, Mr. Blake.

_The nanny puts George in the pram and is off for the house. They watch together for a moment. Then Blake turns to Mary._

BLAKE  
It's not just that I want you, Mary. It's right. We challenge each other enough, and a woman like you does need a challenge to stay happy. I won't always agree with you. But in the end you'll win, and I'll cherish you for it. Does that not sound like an entertaining way to -

MARY  
Stop.

BLAKE  
What is it?

MARY  
I am practical. I'm even business-like these days. But I am still a woman. I do require-

BLAKE  
Of course.

_Blake stands._

Thank you for stopping me. I'm not properly prepared.

MARY  
No, you're not.

BLAKE  
Then, My Lady, when I return on Saturday I will have something very important to ask you.

MARY  
And it had better not be about ledgers or cutbacks or livestock.

_Blake grins and holds out his hand. Mary stands and takes it, heaving a sigh._

UPSTAIRS HALLWAY. EARLY EVENING.

_Anna and Bates approach each other, keeping their voices low._

BATES  
How are things with Lady Mary?

ANNA  
Better. In fact, good.

BATES  
I'm glad to hear it.

_They take a moment to look at each other, the events of the morning still buzzing between them. They sigh simultaneously, then laugh quietly together._

BATES (CONT'D)  
There's been so much to think on lately. Let's have a treat. I'll take you out to hear some music.

ANNA  
Oh!

BATES  
There's a jazz orchestra in the village on Saturday. You like American music. I've already asked and we can have the half day.

ANNA  
That would be lovely.

BATES  
Why not go buy a dress?

ANNA  
John-

BATES  
We've been so careful. Now and again you need to buy yourself a new dress and some new shoes and be ready to have fun. What do you say?

NURSERY, EVENING.

_Isobel holds baby George. Tom holds Sibby, who is snoozing on his chest._

MARY  
Do you see? He knows you. He held out his arms to you. You are his dear Grandmama.

ISOBEL  
Yes. I didn't know when he might recognize me, but it is wonderful to see his smile. He has Matthew's grin, doesn't he?

MARY  
He does. Tom, do you think?

TOM  
I see more than a bit of Matthew in George. More and more as he grows.

ISOBEL  
He seems to have taken to Mr. Blake as well, if you don't mind my saying it.

MARY  
I don't mind, in fact. And I can't talk more about it just now. But I don't mind at all.

ISOBEL  
We've just been to the pub in the village. Interesting company.

MARY  
Who was that?

ISOBEL  
Well, Lord Merton. And Tom's friend Sarah, who teaches at the school.

MARY  
Oh, really? Where did you meet her?

TOM  
We met over political interests.

MARY  
So you haven't lost your politics. I'm glad to hear it.

_Mary thinks for a moment._

MARY (CONT'D)  
But why on earth was Lord Merton in the village pub?

ISOBEL  
He had taken me to lunch. As we were walking back we met Tom and Sarah.

MARY  
Well.

(BEAT)

MARY (CONT'D)  
Time seems to be marching on, and taking all of us with it.

DOWNSTAIRS HALLWAY, AFTER DINNER.

_Isobel enters the kitchen doorway, watching the kitchen staff cleaning up. Mrs. Patmore looks up from her desk in the kitchen and stands._

PATMORE  
Mrs. Crawley. What-I mean, how can I help?

ISOBEL  
I'm sorry to disturb you. I wanted to say, after the last woman's tea at my house we had such compliments on the Battenburg.

PATMORE  
You can always disturb me with a compliment.

ISOBEL  
And I've something else.

_Isobel looks around the kitchen._

ISOBEL (CONT'D)  
How many kitchen maids would you say you've trained over the years?

PATMORE  
Oh, dozens.

ISOBEL  
So you've taught over twenty people to cook?

PATMORE  
A kitchen maid is not a cook. I've taught a few cooks as well, though.

ISOBEL  
If you'd think it over, I wonder if you'd be open to teaching a class of women to cook one dish. One day per month. There would be five or six women in the classes. And you could teach them to make just one thing.

PATMORE  
Oh, I'm afraid I'd never have time for that. Very busy here you know.

ISOBEL  
You did such magic with Ethel. But I understand completely, of course.

PATMORE  
Here, who told you I was the one who helped Ethyl?

ISOBEL  
(Smiles.) It didn't take a genius to put that together. Well, of course I understand. Until next week, then.

PATMORE  
Oh! Who will the speaker be?

ISOBEL  
We've no guest speaker this month. Just your marvelous Battenburg and each other.

HIS LORDSHIP'S DRESSING ROOM. EVENING.

_Bates, hanging up clothes, stops and turns to look directly at Robert._

BATES  
I wanted to say, My Lord, that even after our departure if I can ever be of service I hope you will contact me. I will always be at your disposal, whatever you might need.

_Robert and Bates exchange a long look of understanding._

ROBERT  
Thank you, Bates. You have always been a friend to me and to my family. We've never had a truer friend than we have in you. That will never be forgotten.

BATES  
It is the same with us, My Lord.

ROBERT  
Tell me, were you looking at properties near this area?

BATES  
We did make a bid on the Bondgate Hotel in Ripon. We had hopes. But we've not heard back. I assume it's been sold.

ROBERT  
The Bondgate? I remember that place. Would you have enough to properly renovate?

BATES  
Yes, we believe so.

ROBERT  
I could look into it for you, find out what the situation is.

BATES  
I wouldn't ask that, My Lord.

_Robert gives him a smile._

ROBERT  
And you didn't ask.

SATURDAY MORNING.

ROSE'S BEDROOM.

_Lillian, a maid, is folding clothing items in tissue paper. Rose is wandering around the room distractedly._

LILLIAN  
I should think we will need another trunk, My Lady.

ROSE  
No. I'll need the other trunk for my portable phonograph.

CORA  
You can't take that with you!

ROSE  
I must take it with me! I'll die without it!

MARY  
Ridiculous. You won't have time for such things.

_Lillian takes an armful of dresses from the closet and drapes them on the bed._

MARY (CONT'D)  
And you aren't taking all of these. You won't have occasion to wear them.

ROSE  
How do you know? I don't need to be so studious that I never dress up.

_Cora and Mary look at each other._

ROSE (CONT'D)  
University isn't all about studying!

CORA  
University is, Rose. The point is to study and learn. Besides, curfews being what they are I'd be surprised if you wore a party frock in Oxford once.

MARY  
Yes, Rose. _Zuleika Dobson_ is only a novel, you know.

_Mary glances at Cora._

MARY  
Oh, did you hear? Tony Gillingham will be in London for the season early.

_Rose stops and looks at them._

CORA  
I'd not heard. Early?

MARY  
Yes. I'm sure he'll be at all the right gatherings.

CORA  
I suppose the Prince will make an appearance this season.

MARY  
I should think so.

_Mary takes a frock from Rose's hand._

MARY (CONT'D)  
Oh, no, Rose. You don't want to put on the appearance of having too much fun. Your nose will be in books.

COTTAGE. MORNING.

ANNA  
(From the bedroom)

Do you want to see the dress I bought?

_Bates is at his desk, writing. He finishes writing a sentence before replying._

(BEAT)

BATES  
(Absently) Yes, of course.

_Anna waltzes into the room and spins in the dress. Bates looks up at her, his mouth falling open._

BATES (Softly) You look marvelous. Like the queen of the fairies.

_Anna blushes and scoffs. He rises._

BATES (CONT'D)  
Look in the mirror, Anna.

_He walks her to the mirror to look at her own reflection._

BATES (CONT'D)  
In those colors. You look like Titania herself.

_She turns back to him and cups his cheek. He grows serious, looking into her eyes. He seems to be preparing to tell her some important news._

BATES  
(Deadpans) I'll be Bottom.

_Anna busts into laughter._

ANNA  
You are silly!

_She is off to the bedroom to change. He follows her._

BATES  
Will you pet my ears?

_Anna is laughing. They disappear into the bedroom._

_V/O from the bedroom._

BATES (CONT'D)  
My hideous, hairy ears?

_Anna's laugh deepens. Bates says something else, inaudible, and Anna seems unable to stop laughing. It is a boisterous, happy sound._

HALLWAY OUTSIDE THE SERVANT'S DINING HALL.

_Carson has been waiting for a sign of Baxter. As she starts up the hallway he meets her._

CARSON  
Miss Baxter, may I have a word?

_Baxter follows Carson into his office._

CARSON (CONT'D)  
Please close the door.

BAXTER  
I hope nothing is wrong.

CARSON  
I am sorry to be the one to give you this, but I did not want you to have to open it among prying eyes. Things of this nature-

_He hands her a black bordered letter._

CARSON (CONT'D)  
I hope it is not someone dear. Would you like some privacy? You are welcome to stay in my office to read it.

BAXTER  
Yes. Thank you, Mr. Carson.

_Carson exits into the hallway, closing the door behind him. He enters the servant's dining hall. The staff, at breakfast, stand and then sit again._

CARSON  
Anna, may I have your assistance for a moment?

_Anna follows Carson into the hallway._

COURTYARD.

_Anna exits and looks around, sighting Baxter. She approaches her._

BAXTER  
Mr. Carson told you?

ANNA  
I think he knew I'd want to make myself available. In case I could be useful.

_Baxter holds the black bordered letter loosely in her hand, as if she would like to throw it away. She gazes into the distance, then looks at Anna._

BAXTER  
It happened to me, too.

ANNA  
What?

BAXTER  
What Green did to you. I hope I don't offend. But I know the look. I've felt that same way. That very same way.

_There is a long silence._

BAXTER (CONT'D)  
I'm sorry. I shouldn't have said-

ANNA  
No, it's alright.

BAXTER  
Do you still have nightmares?

ANNA  
Hardly at all. Do you?

BAXTER  
Sometimes, though it was long ago. I was young. I thought it was my fault.

ANNA  
Yes, so did I. I'm not overcome very much anymore. But I had never known what it was to be so angry that you could kill. I never knew what it was to wish for your own death. I never knew how alone a person could feel.

BAXTER  
Yes.

ANNA  
But then I had Mrs. Wright. And my husband. I'm very fortunate.

BAXTER  
Mr. Bates was kind?

ANNA  
And so loving. And so patient. He understood, more than I would ever have thought a man could understand. He talked about the war, and I could see what he meant. How he and I-we have similar wounds, in a way. Some things never completely heal, but you keep going. I don't know what I would have done without him. Mrs. Wright was important, too. But I couldn't have found my way back without John.

BAXTER  
You heal each other.

ANNA  
We do. Absolutely we do. I'm so grateful for that.

BAXTER  
When I was-it was a Lord. He attacked me at every opportunity. It was like being hunted. I lived in terror. And then after the baby was born and it was a son, he was taken from me. I was sent away. I had no one. I nearly killed myself. More than once.

_Anna takes Baxter's hand._

BAXTER (CONT'D)  
I felt broken in half. My one love, my darling, my little boy. My son. Taken away.

_There is another long silence. Baxter looks around carefully, lowering her voice._

And then he wrote to me a few weeks ago. Said it was urgent we meet. He'll be lord, now. That monster of a father of his-forgive me to speak of his death that way, but-

ANNA  
Don't apologize to me for that. There's no need.

_Anna thinks it over now, astonished. She also scans the courtyard before asking._

ANNA (CONT'D)  
Then-your son-is a lord?

BAXTER  
The lady went into retirement at the same time I was sent to a cottage. I was well fed and looked after. And when the baby turned out to be a son, I was given money in exchange for a promise and was sent off. No one had missed me. So I suppose the secret was well-kept enough.

ANNA  
And Thomas knew?

BAXTER  
He didn't know the name of the house. My history there was of course erased. But he knew the story. I'm not sure who from. I suppose someone wasn't paid enough.

ANNA  
There's always someone like that.

BAXTER  
I never thought I would speak of it to a living soul. (Sighs) Thank you.

LADY EDITH'S FLAT, LONDON. DAY.

_Edith and Corinne are stretched on Edith's bed. Edith is making a toy rabbit hop and nuzzle Corinne. Corinne laughs delightedly at the game. Edith is soft, content, happy. There is a knock on the door._

NANNY  
My Lady, Lady Rosamund is here.

_Rosamund enters. She takes in the scene with a bit of discomfort._

ROSAMUND  
Well. You seem to be alright.

EDITH  
(Stands) Yes. We are.

_Edith picks up Corinne, kisses her._

EDITH (CONT'D)  
Mummy will see you again after your nap, my dear.

_Edith hands Corinne to the nanny, who takes the baby into another room. Edith goes past Rosamund into the parlor. Rosamund follows._

ROSAMUND  
And-how are things at the newspaper?

_They sit._

EDITH  
Going quite well. But it's strange.

ROSAMUND  
Why? Do they not understand your position?

EDITH  
As a matter of fact, they afford me every respect. I fairly stormed in and demanded it. So they give it to me. I think I frightened them a bit.

ROSAMUND  
Well done, then.

EDITH  
And I would think so, if it had been ME.

ROSAMUND  
(Laughing) Who else would it have been?

EDITH  
I find that whenever I assume authority, to require their respect-well-I watched Mary do that, as far back as I can remember. She always knew how to take command of every situation, it came so naturally to her. I think the whole time I've been resentful of her gift for it. But now-

ROSEMUND  
Now you are the one taking charge.

EDITH  
But is it me? What if it's not me running the paper at all? What if it's Mary wearing my skin? I have a life free of her at last. Free of all that-rancor, at last-and I find she's a force within me. Worse yet, I'd be lost without her. How can that be?

ROSAMUND  
Do you miss Mary? Do you miss being home?

EDITH  
It's impossible.

INT. BARN ON THE MASON FARM.

_Ian is brushing the heavy horses. Daisy sets a basket down._

DAISY  
I brought you some extra jars of the bread and butter pickles you like.

IAN  
I'll not have pity.

DAISY  
It's not pity.

IAN  
What is it then?

DAISY  
Never mind.

_Daisy turns to go._

IAN  
I'm sorry. It's not you. You're kind, and I can tell you care for Mr. Mason. There's no better employer, I'll have you know that.

DAISY  
I know.

IAN  
Right, then.

DAISY  
I'm sorry your wife died.

IAN  
Well.

DAISY  
And your child.

IAN  
You lost your husband, too.

DAISY  
But not a child.

IAN  
No.

_Ian pats the enormous horse on the rump and takes a cloth, wiping his hands. He looks down at the basket._

IAN (CONT'D)  
This is very good pickle. I remember when we started having your preserves around. Step up, it was.

_He and Daisy lock eyes for a moment. Daisy turns to go._

IAN (CONT'D)  
Mrs. Mason.

DAISY  
Daisy.

IAN  
Mrs. Mason. You're a nice sort. Don't remarry.

DAISY  
What?

IAN  
I say -

DAISY  
My father in law won't mind, if I ever do. He wants me to-

IAN  
It's not that. Only it's not healthy. For some women, it's just not healthy.

LONDON STREET, OUTSIDE EDITH'S FLAT. AFTERNOON.

_We recognize Monahan, the new reporter from the Sketch. He is holding a small camera (for the time) and looking down at it, poised to photograph Edith as she exits her building. We see the front steps through the camera's view. Then the view goes black. __Monahan looks up._

THOMAS  
Why-is that a camera?

MONAHAN  
Urm-yes.

THOMAS  
How clever. I've never seen one so small.

_Thomas grins._

You don't mind my saying.

MONAHAN  
(Absently) Urm, no. Not at all.

THOMAS  
What are you photographing? That building there?

MONAHAN  
Yes. Now, look, this is newspaper business. So please do move along.

THOMAS  
Newspapers? How intriguing. Is the building itself of interest? Or something more?

MONAHAN  
As I said, this is newspaper business.

THOMAS  
Oh, but I buy newspapers, you see, so this is rather my business, too.

_Thomas looks back as Edith comes out of the building with Corinne, who is wrapped well in blankets. Edith looks carefully around as a car pulls up. Thomas is dodging in front of Monahan, preventing him from taking a picture that he so desperately wants._

MONAHAN  
Will you leave off?

THOMAS  
Why? Is there something...?

_The car pulls away. Monahan groans in disappointment._

THOMAS (CONT'D)  
Well, sorry to bother you. I'll be off, then.

_Thomas fixes Monahan with a stare._

THOMAS (CONT'D)  
Until next time?

STREET IN THE VILLAGE OUTSIDE THE MUSIC HALL. EVENING.

_Bates and Anna walk down the street as the crowd disperses._

ANNA  
I like jazz so much! There's nothing else like it!

BATES  
I think it will be a part of everything we hear from now on.

_They nearly pass by a pub. Bates stops._

BATES (CONT'D)  
Would you like a cider, before we go home?

ANNA  
I would.

INT. PUB  
Bates and Anna walk past a knot of slightly scruffy drunks on their way through. They all look at Anna. One yells.

DRUNK  
Look at tha' little piece!

_Bates turns and shoots him the deadly look of an assassin, which the drunk does not see. Anna sees it. The drunk's friends have also seen the look, and they shush him._

DRUNK (CONT'D)  
Wha? I'll show her some moves.

_Anna looks back at the drunk and then at her husband. They continue into the pub. A barman bustles up them through the thick crowd._

BARMAN  
Mr. Bates. Mrs. Bates. The usual?

ANNA  
Yes. Cider and a water, please. Did all these people go to the concert?

BARMAN  
Some. Some are day laborers. About to toss them out. Bit of a tough bunch, though.

_There is loud drunken laughter as Anna and Bates take a table. Their drinks are set before them._

DRUNK  
Oi! Look a tha' little blonde with the old cripple!

_There is more laughter. Anna looks from the drunks to her husband who smiles sweetly at her, completely unaffected._

ANNA  
Perhaps we should go.

BATES  
If you want.

DRUNK  
Here, here! Little piece! Dance wi' me!

_Anna looks at Bates._

ANNA and BATES (simultanously)  
Nothing foolish.

_The drunk makes for their table. Bates stands, blocking him._

DRUNK (CONT'D)  
You wanna move, mate.

BATES  
I'm not your mate. And it's time you respected my wife.

DRUNK  
His wife!

_The drunk turns back to his friends, pointing at Anna._

DRUNK (CONT'D)  
I'll respect her alright.

_He looks down at Anna._

DRUNK (CONT'D)  
Dance wi' me, little bird. I'll show you what respect is.

_He looks back at his friends, making a lewd gesture. They laugh._ _Keeping his back to her and shielding her, Bates slides his cane across the table to Anna. __Anna tugs on his sleeve. He glances back at her._

ANNA  
John.

BATES  
What?

ANNA  
Do something foolish.

_For an instant he is surprised. But Anna has had enough. Bates gives his wife a slow grin. _

_Bates turns and is shoved by the drunk. He drops to the floor. The drunk stumbles closer to the table. Anna takes the cane in her hands, sliding back in her chair._

_A hand lands on the drunk's shoulder. He turns. Bates' fist knocks the drunk's face out of frame._

_The drunk spins on his toes, out cold even before he plunges into a table. Patrons and pints are scattered; there is confusion and yelling. A woman behind Anna taps her shoulder._

WOMAN  
I didn't see that coming!

ANNA  
I did.

_The drunk's friends are lifting him and carrying him out, steering clear of Bates. The barman rushes up._

BARMAN  
That's a deadly right hook, that. Knocked him out! Didn't know you for a boxer, Mr. Bates.

BATES  
Just in the army.

_Anna's eyes widen. It's the first she's heard of this. Bates remembers this and looks at her. She is staring at him._

BARMAN  
Well, the cad had it coming. I hope you'll forgive us, Mrs. Bates. You'll not pay for a cider in here again. Will you have another now?

_Bates looks to Anna for the answer. Anna is still staring at her husband._

ANNA  
No, thank you. It's time we went home.

BATES  
Are you sure? You didn't have-

_Anna pulls Bates down and whispers in his ear. Bates straightens quickly._

BATES (CONT'D)  
Thank you, lad, not tonight. Must be off!

_He holds out his arm, Anna takes it. They give each other a look of pure desire before starting home._

LIBRARY. LATE.

MARY  
What do you think Edith would say, about the way we are dividing the estate? I think she would be on the side of donating to the National Trust.

TOM  
I'm never good at predicting what Edith will say. She's always got some insight I didn't think of.

_Silence._

TOM (CONT'D)  
Are you missing her?

MARY  
Not exactly. She's just been gone so much. I suppose-I don't know, Tom. I suppose I miss hearing her opinions, yes. Strange as it may seem.

TOM  
I wonder if she misses being home.

(BEAT)

MARY  
Why would she?

_Mary rises, pacing._

TOM  
What is it?

MARY  
If I were her, I certainly wouldn't miss being here. And there's one reason. Just one.

TOM  
What is that?

MARY  
Me. I've been doing my best to make her life hell for as long as I can remember.

TOM  
(Smiles) And do you miss that?

MARY  
No. The battles I don't miss. But what if I never really knew my sister, just because I was so busy hating her?

TOM  
That would be a sad story, if you were asking me.

MARY  
I was asking. I truly was, Tom. What Papa said about families being driven apart. I went cold inside. That's the worst thought of all. It would be unforgivable. And I've already been doing it. I already drove away my sister.

_Blake enters the library._

BLAKE  
Forgive me. Am I interrupting?

MARY  
No. Tom, will you excuse me?

TOM  
Of course.

MARY  
Urm-Tom?

TOM  
Yes?

MARY  
I wonder if perhaps you would like to invite Sarah to dinner?

TOM  
What?

MARY  
I hope I'm not presuming. But-

TOM  
But we needed to keep connections with the village? A school teacher would certainly help us there.

MARY  
No-I wasn't thinking of any of that. If she's a friend to you or-I wondered if we could meet her.

_Tom's expression changes. He and Mary look at each other._

TOM  
Thank you for saying that. I hope no one else will mind.

MARY  
No one else will mind. You can be sure of that.

(BEAT)

TOM  
Then I will invite her.

_Tom looks at Mary and Blake._

TOM (CONT'D)  
Well, I'll say goodnight.

BLAKE  
Mary, would you walk outside with me?

COURTYARD. EVENING.

HUGHES  
What are you doing out here?

CARSON  
Trying to think, I suppose. I can't seem to clear my head.

HUGHES  
But you and I are very fortunate to have fewer changes upon us than many of the others. The dust will settle.

CARSON  
In time. Just now-

_He holds out his hand._

CARSON (CONT'D)  
I need steadying.

_Hughes takes his hand and leads him to a bench._

HUGHES  
Let's sit. I'll steady you.

CARSON  
It's improper. Out after dark.

_They sit on the bench. She budges closer to him. He looks at her._

CARSON (CONT'D)  
In this light, I can see you as a girl. What is it about moonlight?

HUGHES  
There is supposed to be magic in it. I don't see any fairies. But I'm glad you see a girl.

CARSON  
I see a woman. A fine woman.

_HUGHES slides her arm around his shoulders. He is unsettled for a quick moment, but recovers. After a careful look around he pulls her in for a kiss._

MOONLIGHT. OUTSIDE THE ESTATE UNDER A GREAT TREE.

MARY  
I suppose you'd like to get on with it.

BLAKE  
Am I rushing you?

MARY  
I know you've made your decision, and you do like to get things done.

BLAKE  
I decided what I wanted long ago, just so you know.

MARY  
Oh yes? And when was that?

_Blake goes down on one knee. He pulls a small box out of his pocket and flips open the top._

BLAKE  
You were covered in mud and made me eggs. So the diamond is egg-shaped. I will never forget the moment.

_Mary makes a small sound._

BLAKE (CONT'D)  
If it's not enough-

MARY  
Charles-

BLAKE  
Lady Mary Crawley, will you be my wife? Will you let me make your happiness the most important thing in my life for the rest of my life?

_The large diamond flashes in the moonlight._

MARY  
Good heavens.

_Blake is still on bended knee._

MARY (CONT'D)  
Get up and kiss me.

A HIDDEN COPSE IN A MEADOW. MOONLIGHT.

_Anna and Bates recline on her shawl. She rests in his arms. Her hair is down, his coat and waistcoat are on the grass. They are both flushed, mussed and ever so slightly out of breath._

BATES  
I'm sorry I didn't tell you about the boxing.

ANNA  
To be fair, it was quite impressive.

BATES  
Are you wondering what else I haven't told you?

ANNA  
I wasn't wondering anything at the moment. At this moment I'm-I'm just happy.

BATES  
Are you, my darling?

ANNA  
Yes. You are the one who's thinking right now.

BATES  
There were no children with Vera. As you know.

ANNA  
Yes.

BATES  
It could be my fault.

ANNA  
There's no fault.

BATES  
You were quick enough to call it a fault when-

ANNA  
I know. I think sometimes I get too caught up in things.

BATES  
But will it be enough?

ANNA  
Do you mean will YOU be enough?

_He nearly speaks, but stops._

ANNA (CONT'D)  
Can you be serious? Do you know how much I love you, how much I need you?

BATES  
But if-

ANNA  
Would you consider adoption?

BATES  
I would.

ANNA  
As would I.

BATES  
There will always be war orphans. There will always be women of unfortunate circumstances. Families too big for incomes.

_She is caressing his face._

ANNA  
We've love enough. More than enough.

BATES  
Yes.

_He rolls her over and kisses her._

FADE TO BLACK.  
THE END.


End file.
